Non-Woke Game Of Thrones Spinoff Explodes In Popularity

It is true that woke content in entertainment media has been in steady decline.  Some production studios continue to fight against reality in a vain effort to force their insane ideology on the public, but compared to five or ten years ago, far left-activism in film and TV is crumbling.

The number of film productions are plummeting.  New movies and shows are becoming thinner in budget and frequency.  Hollywood is gasping for oxygen.  Many people consider this a good thing, and it is.  Hollywood deserves to die.  That said, there’s almost nothing available to replace it, and this is becoming a problem. 

Storytelling is integral to the human condition; it’s how we pass on ideas, principles and history.  Hollywood has devolved to the point that they no longer know how to do this.  Wokeness is all they understand and without it they are lost.

Only a few years ago it would have been a miracle to find a streaming series with a nearly all white cast set in a European-style environment featuring a straight white male hero with a heart of gold and a dream of serving as a protector of the innocent.  It would have been even more of a miracle to find a show in which good people with pure intentions are exemplified as the ideal.  And, for that show to also be a Game of Thrones spinoff would require divine intervention.

Today, it would seem that miracles are now possible.

The recent release of HBO’s “A Knight Of The Seven Kingdoms” set in the world of Game Of Thrones has caused a stir – The good kind of stir.  Audiences initially approached the series with extreme caution, given the incredible woke failure the original GOT series turned out to be, not to mention the insipid gayness of House Of The Dragon.  However, the complete absence of woke propaganda in the series has come as a pleasant shock to audiences and the show is exploding in popularity.

The first season is not officially ended and there is, of course, always the chance that writers will attempt to ambush the audience after luring them into a false comfort.  But this does not seem to be the case with KSK.

Our main character, Duncan the Tall (played by Irish actor and rugby player Peter Claffey) is an endearing hero in a way that we have not seen in film or TV for a very long time.  His sidekick “Egg”, played by 11-year-old Dexter Sol Ansell, is one of the best child actors to grace a series since the first season of Stranger Things (another show that fell part under the low IQ weight of woke ideology).  The duo is incredible to watch and their friendship feels real. 

The underlying theme, though, is the real draw. 

Chivalry and honor codes are center stage here.  No hint of feminism.  No hint of progressive moral relativism.  No moronic preaching about racism.  It’s hard to believe, but the focus of this series is the necessity and value of good men.

Fans have taken to social media to rave about the production, citing the refreshing depiction of western culture in fantasy.  It’s a genre that was supported by white nerds well before it was considered “cool”, and it’s nice that they’re being welcomed back here.   

A Knight Of The Seven Kingdoms is now bring in around 13 million viewers within the first three days of the premier of each new episode.  Compare this to the majority of woke series, which receive an average of 2 million to 5 million viewers per episode, usually in a pattern of steep decline.  Streaming services like Disney or Paramount tend to refuse to release full official data on such content because it performs so badly.    

It should not be surprising that entertainment media draws a much larger crowd when it avoids political preaching, especially when the content is set in a fantastical world where modern politics would not exist.  The inability of Hollywood to accept defeat and move on with more relatable content is leading to their complete destruction.  Maybe with the success of A Knight Of The Seven Kingdoms they might finally learn something.